Exhibition: Cathy Busby: WE CALL

Time & Date: May 20, 2017 – April 28, 2018

Location: Teck Gallery, Canada

WE CALL is composed of selections from the Truth and Reconciliation Commission of Canada’s (TRC) 94 “Calls to Action”. This document is one of the series produced by Cathy Busby that draw attention to the ways that governments obfuscate their accountability towards Indigenous rights and title in public address, policy and service. It accompanies the 500-page report that synthesizes the TRC’s inquiry into the inter-generational legacy of Canada’s Indian Residential School System.

Busby’s selections highlight the ways that governmental, educational and cultural institutions are called on by the TRC to cultivate Indigenous leadership, stewardship and participation within structural systems.

The work’s title, WE CALL, abbreviates the address of each call to action to emphasize the mutual responsibility of the caller(s) to participate in enacting these structural shifts.

Source + photo: http://www.sfu.ca

 

Advertisements

埃德加•德加:烈马、芭蕾舞者和人体艺术

在印象派的圈子中,德加是与雷诺阿风格最接近的一位,他们都热爱将生动的巴黎生活作为绘画的主题。德加没有参加过格莱尔(Gleyre)的工作室,很有可能他与未来的印象主义者的第一次会面是在Guerbois咖啡店。埃德加·德加(Edgar Degas)来自于与莫奈、雷诺阿和西斯利完全不同的环境中。法国大革命期间,他的祖父René-Hilaire de Gas在1793年被迫从法国逃到了意大利。他的祖父是一名粮食商人,在意大利手收获了商业的繁荣。

德加的祖父在那不勒斯创建了一家银行,与热那亚的富裕家庭的一个女孩成婚。埃德加·德加喜欢简单地将名字写成德加,尽管他与意大利的众多亲戚维持着愉快的关系。他在1853年在Louis-Ernest Barrias工作室开始了学徒生活,从1854年开始,在路易斯·拉莫特(Louis Lamothe)的指导下学习。拉莫特非常崇拜Ingres,远远超过了其他画家。他将这种敬佩之情传染给了德加。从1854年开始,德加开始频繁地前往意大利:首先到达那不勒斯,认识了好多表兄弟;然后到了罗马和佛罗伦萨,从古典大师那里不懈地临摹和学习。

德加,《下跪的妇女》,1884年,普希金博物馆,莫斯科。
德加,《沐浴的女人》,1886年,希尔斯特德博物馆,法明顿,康涅狄格州。

在19世纪六七十年代,德加成为了一名专注于绘画参赛者、马匹和骑师的画家。不管在哪里观看比赛,他美妙的画家记忆为我们保留了赛马运动的独特性。在他第一幅相当复杂的赛马场作品完成后,德加学会了如果表达赛马的高贵和优雅姿态,以及它们紧张的运动和肌肉的优美弧度。大约在19世纪六十年代中。德加有了另一项新的发现。1866年,他以芭蕾舞作为主题,创作了《芭蕾舞剧〈源泉〉里的菲尔珂小姐》(纽约,布鲁克林博物馆)。

德加,《芭蕾彩排》,1873年,福格艺术博物馆,剑桥,马萨诸塞州。

在此之前,德加一直专注于歌剧院,但是从现在开始他愈来愈专注于自己的艺术。德加的第一幅有关芭蕾的作品是《巴黎歌剧院设在佩勒提宫的舞蹈教室》(奥赛博物馆,巴黎)。在精心构建的作品中,人物之间彼此左右平衡,每一个芭蕾舞者都在自己跳舞,每人姿态各异。大量的观察和草图是成就如此作品的关键。这就是为什么德加从歌剧院转移到了排练厅,因为排练厅中的芭蕾舞者在练习和商科。芭蕾是他的激情,一直延续到他生命的终点。

德加,《舞台上的排练》,奥赛博物馆,巴黎。

德加,《舞台上的排练》,奥赛博物馆,巴黎。

随着年龄的增长,德加创作了越来越多的雕塑作品。“随着我的目光所及”,他告诉商人Vollard说,“现在我必须要从事盲人的工作。”他用蜡创作了他最擅长的形象:芭蕾舞者、马匹和裸体。

在之后的几年中,德加几乎已经完全失明了。1917年9月27日,德加去世。在陪同他到蒙马特公墓的朋友当中,只有一位印象主义者:莫奈。比他活得更长的朋友,诸如雷诺阿,在扶手椅上去世的。在第一次世界大战期间,画家的死亡似乎微不足道。

德加,《十四岁的小舞者》,约1879-1880年,大都会艺术博物馆,纽约。
德加,《浴缸》,1886年,奥赛博物馆,巴黎。
德加,《浴缸中扶着腰的女人》,蜡笔画,约1887年,檀香山艺术博物馆。
德加,《浴后擦干后颈的女人》,粉笔画,1989年,奥赛博物馆,巴黎。

 

更多阅读,欢迎点击:亚马逊当当京东

Franz Marc: War Crime: The Assassinated Painter

During his lifetime Franz Marc was widely regarded as one of the most promising German painters of his generation. His death in the First World War was mourned as a bitter loss for the art world. It was also a deep personal loss for his surviving friends, Klee and Kandinsky – his other close friend from the Der Blaue Reiter circle, Macke, had died before him on the battlefield.

The Blue Horse I, 1911. Oil on canvas, 112 x 84 cm. Städtische Galerie im Lenbachhaus , Munich.

As a young student, Marc had intended to study philosophy and theology. Then, in 1900, he decided to become a painter instead, and registered at the Munich Art academy. Marc’s early work was relatively naturalistic, but it showed evidence of his admiration for Van Gogh and Gauguin, whose works he had seen at first hand in Paris. He painted and made some prints and small sculptures.

Most of his subjects came from nature. They were landscapes, a few nudes and, increasingly, the animals that would become so central and distinctive in his work. By around 1908 he was starting to intensify his exploration of the movement, behaviour and character of animals. He would spend hours observing and sketching cows and horses in the Bavarian pastures, and watching deer in the wild. Rehe im Schilf (Deer in the Reeds) of 1909 is a characteristic work of this period.

Deer in the Reeds, 1909. Oil on canvas, 89 x 79 cm. Bayerische Staatsgemäldesammlungen , Munich

Marc’s and Kandinsky’s endeavours with the Blaue Reiter were part of the Expressionist search for “origins” and for authenticity. In some ways, these were qualities that Marc recognized in the animal kingdom, away from the stultifying effects of civilization. His woodcut, Geburt der Pferde (Birth of Horses) of 1913 envisages a cosmos in which animals represent the forces of creation.

Birth of Horses, 1913. Work on paper, 21.6 x 14.5 cm. Scottish National Gallery Of Modern Art

In the summer of 1913, Marc embarked on a major series of large and increasingly experimental works. The most important of these was his Tierschicksale (Fate of the Animals), as discussed on. Finally, in 1914, just as the war was brewing in Europe, he began to paint almost entirely abstract canvases. An example is Kämpfende Formen (Fighting Forms). The conflict described by the title is a cosmic one of opposite energies, bright and dark, symbolically, good and evil, tumbling and fragmenting in combat with one another.

Fate of the Animals, 1913. Oil on canvas, 261.6 x 194.3 cm. Kunstmuseum Basel , Basel, Switzerland

As he matured as an artist, in keeping with Expressionism’s tendency to deal in universals– fundamental ethical issues and philosophies – Marc’s intellectual concerns were with a future age of “the spiritual” and with the redemptive function of art in the modern society that he and his friends found so shallow and materialistic.

In 1916, Marc was one of the 700,000 men killed in the long battle of Verdun. He was on an exploratory mission when he was fatally wounded, by flying shrapnel. In 1937, when the Nazis waged their bitter campaign against modern art in general and Expressionism in particular, they seized 130 works by Marc from public collections and included some of them in the Entartete Kunst (Degenerate Art) exhibitions. His inclusion was controversial, for Marc was a painter widely held in high esteem and an officer who had died fighting for Germany.

Marc’s Red Deer II was confiscated but later declared a “borderline case” and handed back to the Staatsgalerie in Munich in 1940. Another of his most important paintings, Der Turm der blauen Pferde (Tower of Blue Horses) was removed from the exhibition in response to protests from a German officers’ association. It landed for a time in the hands of Hermann Göring (who hoarded a collection of the “best” of the art that the Nazis defamed) and was last seen in the possession of the regime in 1945.

Franz MarcKlee , Kandinsky , Expressionism , Städtische Galerie im LenbachhausBayerische Staatsgemäldesammlungen , Scottish National Gallery Of Modern Art , Kunstmuseum Basel , Staatsgalerie Moderne KunstParkstone InternationalArt , Painting , Ebook Gallery, Image-Bar , Amazon Germany , Amazon France , Amazon Spain , Amazon Canada , Amazon UK , Amazon Mexico , Amazon India , Amazon China , Amazon Japan , Amazon Italy , Amazon Australia , Kobo , Douban , Google books , iTunes , Proquest , Scribd

 

Exhibition: “The Cinquecento in Florence. From Michelangelo and Pontormo to Giambologna”

The exhibition “The Cinquecento in Florence. From Michelangelo and Pontormo to Giambologna” is dedicated to the art of the 16th century in Florence, Italy. During the exhibition, more than 70 art works by such artists as Michelangelo, Bronzino, Giorgio Vasari, Rosso Fiorentino, Pontormo, Santi di Tito, Giambologna and Bartolomeo Ammannati will be showcased.

Date & Time: 21 September 2017– 21 January 2018

Exhibition opening hours: Daily from 10.00 AM-8PM. Thursdays: 10AM – 11PM.

Venue: Fondazione Palazzo Strozzi

Photo: Twitter

Source: palazzostrozzi.org

莫奈:寻找新的光(第二部分)

在生活中的艰难困顿中,莫奈和其他印象派画家都受到了朋友们的资助。印象主义者的朋友并不是很多,但是他们慷慨解囊,买下印象派的作品,为印象主义者提供了物质上的支持;更加重要的是,他们也带来了温暖的友谊。业余画家古斯塔夫·凯勒博特(Gustave Caillebotte)便是其中之一,他家境富裕,多次参与印象派的展出。巴黎歌剧院的男中音Jean-Baptiste Faur购买了马奈和其他印象主义者的画作,其中包括了许多莫奈的绘画作品。巴黎的市政官员Victor Chocque只要资金充裕,就会购买印象主义者的画作。Gachet博士也拥有不少莫奈及其友人的作品,他视为珍宝。《艺术时刻》(L’Art de la Mode)的出资人监编辑Ernest Hoschédé在购买了印象派作品之后,还会邀请画家去他的庄园做客。1876年7月,马奈在Hoschédé家中度假两周。Hoschédé的庄园位于巴黎南部的蒙日龙,马奈回赠了Hoschédé一些装饰画板,用来装饰他家城堡的主会客室。

克劳德·莫奈,《午餐》,装饰面板,1868年。油画布,160 x 201厘米。奥赛博物馆,巴黎。

装饰绘画对于莫奈来说并不是一个全新的领域。这些巨幅的方形帆布画不过是印象主义作品的扩大版,因为这种尺寸不太适合户外作画。莫奈在工作室研究作品,但是他的装饰画仍然具有户外写生的特点(蒙日龙花园的一角)。灌木花草由于在帆布的下缘而被裁剪,可以看到池塘里明亮的蓝色。这并不是古典风格的绘画,而是一种随机的选择。莫奈的另一幅作品是树荫下的池塘,池塘的面积占据了画面高度的2/3(池塘也位于蒙日龙)。眼睛几乎很难辨认出,树下有位女士拿着鱼竿,另一位女士则躺在草坪上,还有两人在走向远方。莫奈几乎推翻了所有古典主义的空中视角规则。

在1877年的第三次印象派展览中,莫奈首次展出了一系列的画作:圣拉扎尔火车站的七个场景。他从他所创作的十二幅车站主题的绘画中选出了七幅,其主题不仅与马奈的《铁路》相吻合,也有莫奈特色的阿让特伊的火车和站台,体现了铁路首次出现之后的趋势。

莫奈,《花园里的妇女》,油画布,255 x 205厘米。奥赛博物馆,巴黎。

19世纪70年代末是莫奈生活中最困难的时期。 1878年,莫奈一家不得不离开阿让特伊。尽管有朋友的资助,莫奈的经济状况仍然持续恶化。他仍然在塞纳河畔继续作画,他还发现了维特依,是一个离他不远的美丽的小镇。莫奈,Alice Hoschédé和她的六个孩子在1878年的时候搬到了维特依。孩子中最小的一个Jean-Pierre,几乎与Michel Monet同时出生。甚至有人猜测他是莫奈的儿子,因为在蒙特龙留宿过之后,他和Alice的关系便非常亲密了。1881年Hoschédé要求爱丽丝回来,但是为时已晚。莫奈非常高兴,将她的孩子视为己出。但是由于他们时常经济上困顿,于是被迫搬到了距离Vétheuil不远的Poissy。

莫奈的房子边儿上,有一个充满开花向日葵的花园。阳光穿过花园,照射在莫奈的帆布画上。虽然莫奈的作品并没有许多静物画,但他无法抗拒在花瓶中绘制向日葵花束的诱惑(纽约大都会艺术博物馆)。在他的笔刷下,黄色的花朵奇迹般地变成了阳光。 1879年卡米尔死亡。莫奈把她画在她的死亡之上,即使在他生命中的这样一个悲惨的时刻也无法抗拒色彩的倾注。在此期间,他经常画诺曼底,探索其美丽的海港:Fécamp,Dieppe和Varengeville。他每次都离开几个月,绘画的主题有时候让他离家很远。 1883年12月,莫奈和雷诺阿一起前往普罗旺斯,之后又去了热那亚。无论他在哪里工作,莫奈都没有忘记他的家人。但是,直到1 992年Ernest Hoschédé死后,他们的家庭生活都并不幸福。Alice和莫奈最终于1892年7月16日在吉维尼结为伉俪。

莫奈,1880年,《艺术家花园》,油画布,151.5 x 121厘米。国家美术馆,华盛顿特区。

在十年前的吉维尼,莫奈买了一座房子,系列绘画创作成为莫奈的主要工作之一。三十年后,他叙述了他是如何达成的。 “我画了一些吸引我眼球的干草堆,这是一个很棒的系列,距离这里也很近。有一天我注意到我的光线已经改变了。我对我的继女说:‘如果可以的话, 去房子里再给我那块画来。’她带了画布给我,但不久之后,它又不同了。另一块画布!还要一块!除非我有效果,否则我不会工作,就这样实现了”。干草堆成了他的工作中几乎无限的系列。他绘画了初夏绿草地上的干草堆,也画过冬雪覆盖的绿草堆。

在1892年,莫奈到鲁昂旅行。由于他不得不在鲁昂呆上一段时间,。他租了一间面向着名的哥特式大教堂的房间。他开始从他的窗户画大教堂,白天的,黑夜的,各种天气下的。雾蒙蒙的天气中阳光照射进来,大教堂似乎要在朦胧的热气中融化了。他的边缘开始模糊,建筑颜色明亮,几乎都要透明了。夜幕降临,蓝色的阴影渐深渐浓,哥特式花丝石雕在辉煌之中呈现。在现实中,莫奈的创作主题根根就不是鲁昂大教堂,而是诺曼底的光线和空气。创作的结果便是真正的色彩交响乐。至今为止,从来未有如此之艺术。在1895年的春天,莫奈进行了一次个人展览,展出了二十种不同的鲁昂大教堂。

英文系列画是莫奈绘画大气层的自然演变。莫奈在十九世纪末启程去伦敦,在二十世纪初,他创作了一系列的泰晤士河为主题的作品。滑铁卢桥系列41号帆布画,国会系列19号帆布画都是其中翘楚。莫奈现在明确地将著名的伦敦雾作为他作品的唯一主题。

莫奈最后的旅行中有一次是他于与Alice在1908年一起前往威尼斯。莫奈心情不好,甚至不想工作,他说威尼斯一切都太美了。尽管如此,与往常一样,他允许大自然来诱惑他。他在威尼斯的作品中充斥着振动的色彩。阳光柔软地反射在运河的水面上,沿着水面滑行,并在潮湿的阴霾中褪色,模糊地形成了教堂的形状。

在20世纪90年代,莫奈的生活充满了热情。他在吉维尼创作了自己的花园,因为他已经投入了系列作品的创作中。莫奈自己画了池塘的形状和横跨池塘的小桥梁。他画了大量的花园景观,对莫奈而言,花园成了一个真正的诱惑。当然,他最爱的主题是睡莲。

莫奈在1926年12月6日于吉维尼去世,他是印象主义画家中最长寿的一位。莫奈在1905年的秋季沙龙上看过马蒂斯和“矮子”,在1907年,他目睹了毕加索立体派的出现。他的儿子死于1914年,他目送自己的儿子去第一次世界大战的战场。他阅读过安德烈·布列塔尼发表的超现实主义宣言。我们可以看到,在莫奈的晚年,他已经不是一个印象主义者了。他仍然画睡莲,但是和他一贯的风格背道而驰了。画笔更粗了,闪烁的灯光黯淡下去,画面也暗了下去。这幅作品几乎是抽象的。但是在睡莲前,人们丧失了有关画布和色彩的感觉。自然的呼吸在印象派画家这里是如此的强烈,只有一个印象主义者才能创作出来。

更多阅读:当当京东,亚马逊,Parkstone International

Wassily Kandinsky: Blue Rider

Kandinsky’s art does not reflect and is not burdened by the fate of other Russian avant-garde masters. He left Russia well before the semi-official Soviet aesthetic turned its back on modernist art. He had been to Paris and Italy, even giving Impressionism its due in his earliest works. However, it was only in Germany that he aspired to study. It is obvious that in his preference for Munich over Paris, Kandinsky had been thinking more about schools than about artistic milieu. The qualities of salon Impressionism, a hint of the dry rhythms of modernism (Jugendstil), a heavy “demiurgic stroke” reminiscent of Cézanne, the occasionally significant echoes of Symbolism and much more can be found in the artist’s early works.

Wassily Kandinsky , Song of the Volga , 1906. Tempera on cardboard 49 x 66 cm. Musée National d’Art Moderne , Centre Geogre Pompidou , Paris

Kandinsky began working in Murnau in August 1908. The intensity with which he worked during this period is stunning. In his early Murnau landscapes it is not hard to recognise a Fauvist boiling of colours and an abruptness in their juxtapositioning, the dramatic tension of Expressionism, which was gathering strength at that time, and the insistent texture of Cézanne. Kandinsky was leaving behind the earthly gravitational field of objects for the weightlessness of the abstract world, where the principal coordinates of being up and down, space and weight are lost.

Wassily Kandinsky , The Blue Mountain, 1908-1909. Oil on canvas. Guggenheim Museum , New York
Wassily Kandinsky , Sketch for Composition II, 1909-10. Oil on canvas, 98 x 131 cm. Guggenheim Museum , New York

According to the myths of the twentieth century, by leaving reality behind, Kandinsky renounced illusions and, therefore, drew closer to a higher reality. In 1911, Kandinsky participated in the foundation of the group Der Blaue Reiter (Blue Rider). Kandinsky had already acquired a name in his Russian homeland. His On the Spiritual in Art (1912) was known from lectures and other accounts. When, with the “Improvisations” and “Compositions” of 1915-1920, Kandinsky made his final break with the object world, he preserved until the early 1930s the feeling of dynamics, even organic, life in his paintings.

Wassily Kandinsky , Composition VII , 1913. Oil on canvas, 200 x 300 cm. The State Tretyakov Gallery , Moscow

In the summer of 1922, Kandinsky began teaching at the Weimar Bauhaus. It was then, in the first Bauhaus years, that he began working on his “Worlds”, works in which he quite directly contrasted the grandeur of the great and the small. Kandinsky’s fame grew with that of the Bauhaus.

Kandinsky determined the essence of what was happening to him in the context of his environment. On the one hand, the presence of surrealistic overtones in his art is unquestionable. Those splendid carnivals of the subconscious, those “landscapes of the soul,” realized in his simultaneously menacing and festive paintings from the 1910s, had already been in partial contact with the poetics of Surrealism. In Russia he had come to know himself as an artist: Russian motifs and sensations nourished his brush for a long time. In Germany he had become a professional and a great master; a transnational master. In France, where he was already welcomed as a world celebrity, he completed brilliantly and a bit dryly what he had begun in Russia and Germany.

Musée National d’Art Moderne , Guggenheim Museum ,  The State Tretyakov Gallery , ExpressionismWassily KandinskyParkstone InternationalArt , Painting , Ebook Gallery, Image-Bar, Amazon Australia , Amazon Italy, Amazon Japan , Amazon China , Amazon India , Amazon Mexico , Amazon UK , Amazon Canada, Amazon Spain Amazon France , Amazon Germany , Kobo , Douban , Google books , iTunes , Proquest , Scribd

 

Exhibition: Magritte, Broodthaers & Contemporary Art

“Magritte’s work constitutes a crucial reference for any artist who intends to reflect on the very production of an image, on the representation or transposition of something real as a likeness. This exhibition will bring together artists who, since the 1980s, have productively entered into dialogue with Magritte’s ‘vache’ period. From George Condo to Gavin Turk, from Sean Landers to David Altmejd”.

Date: October, 13 2017 – February 18, 2018

Location: Royal Museums of Fine Arts of Belgium

Source: https://www.fine-arts-museum.be/en/exhibitions/magritte-contemporary-art